September/October 2017 Omaha Home

SEPTEMBER/OCTOBER 2017

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NEIL ASTLE

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SANDY'S DIY

DRESS(ER) FOR SUCCESS

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OMAHA HOME opener

H150 Sandy Matson Contributing Editor, OmahaHome

S

IMMERING CIDER, SWEATERS, and boots—what a breath of fresh air this season brings after a hot and humid summer.

Should we take a cue from the shedding foliage to realize less is more? That’s the direction I’m leaning these days, as I try to downsize my home-remodeling projects. Hopefully, the clutter (and the associated stress) will be a thing of the past when the projects are complete.

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H129 OMAHA HOME OPENER H132 SANDY’S DIY

Dress(er) for success

H134 SPACES

Staircase to a magical mural

H138 NEIGHBORHOODS such great heights

H144 AT HOME little steps

H150 ARCHITECTURE

Neil astle: omaha's Midcentury Modern man

H154 ARCHITECTURE

two homes, one architect

H162 HARVEST

Speaking of simplicity, what a treat awaits within these pages. Neil Astle—an awardwinning architect who was based in Omaha— was a major innovator of midcentury modern style. Although the architect is no longer alive today, two of Astle’s Omaha homes continue to inspire homeowners.

Home legacies have a funny way of coming into the lives of new homeowners. I was pleasantly surprised reading the story of artist Eugene Kingman’s home and the murals he painted inside. The home’s new residents were instrumental in retrieving a different mural from The New York Times, which now hangs in the downtown branch of the Omaha Public Library.

Guess what iconic Nebraska scene appeared in the home’s private mural? Cornfields!

Cornfields were also the perfect backdrop for my fall DIY project: the fifth installment of my year-long dressing room remodel. The outdoors setting for the photos make me nostalgic, reminding me of my childhood home on the farm in Iowa.

Now, cuddle up by the bonfire or under your favorite cozy, fuzzy throw and enjoy our latest fall issue.

now that's a spicy pickle

H170 TRANSFORMATIONS radiant replacements

Sandy OmahaHome

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DIY

DRESS(ER) FOR SUCCESS

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OmahaHome • September/October 2017

CLASSIC CHARM RECAPTURED story by Sandy Matson

In my house— if I hold onto a piece long enough— furniture will, sooner or later, take on a new purpose.

photography by Bill Sitzmann

design by Mady Besch

S

ome might consider it strange to use an antique buffet as a dresser, but this piece of furniture simply suited my needs: space to store all the smaller and delicate items in my bedroom—while also looking exquisite.

I’ve had this piece for a long time. Over the last several years, I felt it didn’t quite fit in any particular room; however, I couldn’t stand giving this gem away. The sad antique buffet migrated around the house before it eventually settled in a corner of a basement storage room.

In my house—if I hold onto a piece long enough—furniture will, sooner or later, take on a new purpose. And that is just what happened.

I have always wanted a dressing table and thought this would be a perfect addition to

the yearlong makeover of my dressing room.

It has perfect little drawers (originally used for silverware) convenient for makeup and brushes. Pretty baskets of my necessities take the place of fine china.

My dilemma was to conceptualize seating in front of this antique treasure. Where would my legs go? Luckily the two bottom cabinet doors open, so I would just have them open when in use.

As far as the color choice, I contemplated the options for almost a year before finally deciding on a soft gold. Since gold is the accent color of this otherwise white-on-white room, the color combo just screams elegance.

Every room needs that signature piece, and the dressing table is that signature for this room. Below are the items and steps that I used to complete this DIY project.

OmahaHome

instructions Step 1: Remove all hardware, including drawers and cabinet doors, from your furniture. Save it if you are using them later.

Step 2: Either sand until you remove the glossy finish, or you can use a primer/stain-blocker with a bonding agent (depending on the condition your piece is in).

Step 3: Once you have sanded, or put on several coats of the primer-bonding agent, use your hand sponge applicator to get in the hard-to-access areas and detailed spots. You can then use the foam roller to cover the entire piece. I painted the base of the piece before painting the drawers and doors.

ITEMS NEEDED Step 4: Now you are ready for the top coat. Use the same process as with the primer to coat the entire piece. I discovered it may have been easier to have my primer tinted closer to the gold color, but I did not do this, so I had to paint an extra coat.

Note: If you are not quite comfortable going by these instructions, search YouTube for wooden furniture painting tutorials.

Sandy’s year long DIY remodeling series began with an introduction to the room in the January/February issue. The first of five projects, a hanging cof fee filter lamp, debuted in March/April issue. Rustic wall vases followed in the May/June issue.

Vintage classic chairs were in the July/ August issue. Stay tuned for the next installment. Visit readonlinenow.com to review back issues.

• 1 classic piece of furniture (or something you would like to breathe new life into) • Sandpaper in medium grit • 1 sponge roller (this is for the smooth finish) • 2-3 hand sponge applicators • 1 can of Zinsser Cover Stain Interior Latex Primer (available at Home Depot or Lowe’s) • 1 can of Modern Masters Metallic Paint in “pale gold” (purchased in Omaha at The Color Store Inc.)

A

HOUSE HUNTING EXPEDITION 30 years

ago, spurred by the needs of their growing family, eventually led Maureen and Jim Waldron to tour a Spanish-style home of ivory stucco on South 56th Street between Farnam and Harney streets in Omaha’s historic Dundee-Happy Hollow neighborhood.

The size and openness of the living room with its honest-to-goodness slate floor—a testament to 1925 architecture—decorative tiles, carved wood, and wrought-iron accents throughout the house, not to mention several bathrooms, appealed to both their aesthetic and practical senses.

But nothing prepared the couple for what they saw when they passed by the dining room and reached the stairs leading to the second floor.

A mural of a cornfield, in shades of green and accented with gold leaf, filled the east wall adjacent to the staircase and followed the wall’s narrow angle upwards. A second mural of a barn and rustic / H134 /

OmahaHome • September/October 2017

WHO PAINTED IT AND WHEN? THE WALDRONS DIDN’T KNOW, BUT THEY BELIEVED ONLY fence covered the entire wall facing the bottom of the stairs. The artist camouflaged the light switch by making it a part of a fence post. Connecting the two oil paintings, there is a continuation of the field along a narrow strip of wall between the ceiling and the frame of a door leading to the kitchen.

Who painted it and when? The Waldrons didn’t know, but they believed only a professional hand could have created something so unique, so vibrant, and so unexpected. Not everyone touring the house that day shared their sentiment.

“Well, this thing is going to have to go in a hurry,” a woman sniffed to her husband, waving her hand dismissively toward the mural.

The Waldrons prevailed and so did the painting.

Shortly after moving into their new home, a neighbor, who happened to be an art appraiser, walked across the street and asked Jim and Maureen, “You haven’t touched that mural, have you?”

She had good reason for concern. >

STAIRCASE TO A MAGICAL MURAL

Maureen remembers closing her eyes and thinking, “Oh please, don’t let this woman get this house. We may not get it, but she doesn’t deserve this house.”

H A P P Y H O L LO W H O M E H O L D S F I N E A R T T R E A S U R E

A PROFESSIONAL HAND COULD HAVE CREATED SOMETHING SO UNIQUE, SO VIBRANT, AND SO UNEXPECTED.

Spaces story by Carol Crissey Nigrelli photography by Bill Sitzmann / design by Mady Besch

Spaces Spaces < The staircase cornfield, the neighbor informed them, was drawn by artist Eugene Kingman. He and his family moved to Omaha in 1946 and lived in the house through the early ’70s, during his tenure as director of the Joslyn Art Museum.

The name Eugene Kingman didn’t ring a bell with either Maureen or Jim. But from that day forward, the couple’s son and daughter, ages 2 and 4 at the time, heard “don’t put your hand on the painting!” every time they climbed the stairway to their rooms.

For the next 24 years, Jim built his law practice and Maureen worked in corporate public relations before co-founding the online ministries program at Creighton University, their alma mater. In 2011, Maureen finally found the time to “Google” Kingman’s name and write letters. She realized that he painted more than just walls in Omaha—her research and perseverance proved a catalyst for a chain of events that still resonates from Omaha to New York City.

“HE ABSOLUTELY LOVED THE OPENNESS OF NEBRASKA AND LOVED TO PAINT CORNFIELDS.” — MAUREEN WALDRON

Kingman, she discovered, had already won awards as a cartographer, painter, and muralist when (in 1946) then-publisher of The New York Times Arthur Hayes Sulzberger commissioned him to paint a 20-foot-long mural for the newspaper giant’s newly renovated lobby on West 43rd Street in New York City.

That same year, Omaha came calling with a job offer at the Joslyn.

“He asked for—and got—permission from the Joslyn, his new employer, to do the high-profile mural for the Times,” Maureen says. “We have pictures of him painting the mural in the Joslyn. We now believe he painted it in one of the Joslyn’s galleries, not the basement.”

Kingman’s iconic post-war mural, a depiction of the Northern Hemisphere as viewed from space, greeted famous newsmakers and crusty news reporters in the Times lobby for more than 40 years before winding up in storage for another three decades.

With the help of the muralist’s two daughters, Elizabeth Kingman and Mixie Kingman Eddy, Maureen and a group of Omaha friends persuaded the Times to part with the mural. In 2014, a rolled up, dusty, and nicotine-filled canvas arrived in Omaha, donated by the Times to the nonprofit Joslyn Castle Trust. Kingman’s newly restored work now hangs in the W. Dale Clark Library downtown.

the Interior commissioned him to paint seven national parks while he was an undergraduate at Yale,” Maureen says. “He absolutely loved the openness of Nebraska and loved to paint cornfields.”

So when his wife, Betty, lamented that their little daughters were leaving dirty fingerprints on the ivory stucco walls along the staircase, Kingman did what any selfrespecting muralist would do: He painted what Mixie would later call “magical cornfields” to hide their fingerprints, thus enabling Mixie and Elizabeth to continue touching the wall—a luxury the Waldron children never had; nor does the next generation.

Having shined a light on an under-appreciated talent, Maureen, in turn, became enlightened on the origins of the staircase mural.

When the Waldrons’ four-year-old granddaughter recently visited with a little friend, the tot issued a warning of—you guessed it—“don’t put your hand on Nana’s painting!”

OmahaHome

Kingman, a native of Rhode Island, “fell in love with the Midwest and West when the U.S. Department of

Visit eugenekingman.com for more information about the artist.

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September/October 2017 • omahamagazine.com

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Roger and Jody duRand

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OmahaHome â&#x20AC;¢ September/October 2017

NEIGHBORHOODs story by Sarah Wengert / photography by Bill Sitzmann / design by mADY BESCH

VIE

“MOST PEOPLE DON’T KNOW IT’S THERE THIS LITTLE GOLD MINE IN THE HILLS,” —JODY duRAND

ORGEOUS G S R E F F O WYMAN HBORS G I E N D E T C WS , CO N N E HE FIRST THING you notice about Wyman Heights

is the beautiful view facilitated by the storied neighborhood’s riverside, hilltop perch. The petite enclave, situated on the cusp of Florence and Ponca Hills, spoons with a deep bend in the Missouri River where views of the adjacent waterway and nearby city provide an entirely unique perspective.

Speaking of perspective, Jody duRand has an interesting one, having grown up in Wyman Heights in the ’60s and ’70s, and returning to live there in 2010 when she and husband Roger duRand bought their dream home.

“Most people don’t know it’s there—this little gold mine in the hills,” she says of Wyman Heights.

Her parents left the neighborhood in 1991, and the self-described “North O girl at heart” lived for a time in a Florence home designed by her father, Del Boyer of Boyer & Biskup Architects.

The duRands nearly closed on a house in the Memorial Park area when her favorite Wyman Heights home—the one she’d admired since childhood, the proverbial belle of the neighborhood real estate ball—came up for sale.

“I loved this house more than anything in the world,” duRand says of her 1933 home. “When we got the chance to buy it, it was day one, full offer, we’re taking it as is. It’s a really special, beautiful house with so much charm and a view you just can’t get anywhere else in the city. Plus, this [neighborhood] is my home.” >

NEIGHBORHOODs

< Kristine Gerber, executive director at Restoration Exchange Omaha, agrees that Wyman Heights is a “hidden gem.”

“Very few know where it is,” Gerber says. “Its views of the Missouri River to the east and downtown Omaha to the south are incredible. Neighbors love that it’s this quiet oasis, yet in minutes they can be on I-680 to get to wherever they need to go.”

In 1905, Omaha real estate agent/banker Henry Wyman took a shine to the hills north of Florence—then known as Florence Heights and Valley View Heights. Wyman envisioned the area, with its breathtaking views, as the perfect spot for “an idyllic retreat for Omaha’s elite,” according to research gathered by Restoration Exchange Omaha in preparation for the organization’s 2017 neighborhood tour. Wyman spent two decades gathering land, planting trees, and grading and paving North 29th and 30th streets before the neighborhood was replatted and rechristened “Wyman Heights” in 1925.

Tudor Revival homes populated the area from the late 1920s into the 1940s, when World War II and a national housing shortage slowed development.

But by the mid-1960s, Wyman Heights was fully developed, with midcentury modern homes filling in the gaps.

“I always have to explain that the house numbers are totally out of order,” says resident Cathy Katzenberger, who loves the area’s peace and quiet, perfect views, and combination of seclusion and accessibility. “It’s because the neighborhood started with great big lots. Then, through the years as people sold off parts of their lots, new numbers were put in.”

Katzenberger has lived in the neighborhood for 27 years, in two different houses. She grew up in nearby Minne Lusa and was always determined that someday she would live “up on the hill.”

Her current abode is informally known as the Hayden House (not to be confused with the welcome center on UNO’s campus), named for Dave Hayden, proprietor of Omaha restaurants from days of yore, such as the Birchwood Club and Silver Lining Restaurant. >

YMAN HEIGHTS RETAINED ITS ALLURE INTO THE ’ s , ATTRACTING PROMINENT RESIDENTS LIKE MAYOR GENE LEAHY AND ARTIST TOM PALMERTON.

September/October 2017 • omahamagazine.com

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Cathy Katzenberger

NEIGHBORHOODs < “This [neighborhood] originally started off as the weekend country retreat for people who lived in central Omaha—now we’re talking back in the old days,” says Katzenberger, who recalls the hill being home to “all the fancy people.”

Between the stunning views and architectural diversity, Wyman Heights was indeed a magnet for Omaha’s interesting and elite, just as Wyman envisioned. According to Restoration Exchange Omaha, the neighborhood was home to many a local movers and shakers, including Claude Reed, owner of Reed’s Ice Cream; William Sealock, president of the Municipal University of Omaha, originally located at 24th and Pratt streets and now known as University of Nebraska at Omaha; Harry Shackelford, Nebraska State District Attorney; and Genevieve Detwiler, prominent socialite and local proponent of the Girl Scouts.

“W VE E N E RY ’ V E P I G G C OE O G H O O OT HE N PL BO D —C R NE E A RS A T H E ,” C T R .

YK ED E AT Z EN B ER GE R

Wyman Heights retained its allure into the ’60s, attracting prominent residents like mayor Gene Leahy and artist Tom Palmerton. “[The neighborhood] was filled with successful, smart, interesting people,” duRand recalls.

While the neighborhood has become more economically diverse, duRand says Wyman Heights hasn’t changed too much— still offering its lovely views and solid, neighborly network.

“If you can find a house up here, you’re lucky.

It’s a safe neighborhood and the neighbors are wonderful,” duRand says. “It’s nice to be able to look back all these years and see how it’s changed yet how it’s stayed the same.”

Katzenberger is pleased to see traditions like the annual neighborhood party endure, while several young families have moved into the neighborhood and livened it up with a new generation of kids at play.

“We’ve got very good neighbors. People are connected here,” says Katzenberger, noting that despite the lack of through traffic, children’s lemonade stands always do very well, as the neighbors all make a point to stop for a glass.

Katzenberger and duRand appreciate the unique blend of pastoral respite and urban access that comes with living in Wyman Heights.

“We’re so close to everything, yet we can sit outside and hear nothing but birds…see a fox running through the yard, or deer walking up the middle of the street,” duRand says. “It’s the best of both worlds.”

Despite Wyman Heights’ affluent roots, duRand says there’s no pretension here.

“People here are really just being themselves— and we all are very different,” she says. “It’s classy, but very eclectic. We all have love for the neighborhood and that’s what stabilizes us. If one person has a tree fall in their yard, all of us are there to help; we’re all watching out for each other.”

Restoration Exchange Omaha’s Wyman Heights neighborhood tour takes place Oct. 1 from noon to 5 p.m. Visit facebook. com/restorationexchange for more details.

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September/October 2017 • omahamagazine.com

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AT HOME story by Lisa Lukecart photography by Bill Sitzmann design by Mady Besch

BUILDING THE HAGMANN FAMILY HOME

This Blue-Eyed, Blonde-Haired Beauty Missed the First Few Times, Stumbled, but Didn't Give U p.

LAIR HAGMANN WANTED

to help redecorate the house.

One chubby hand snatched the cream-colored privacy curtain near the front door.

This blue-eyed and blonde-haired beauty missed the first few times, stumbled, but didn’t give up. She grasped the cloth in one tight fist—and pulled. It tumbled down.

Mission accomplished.

Blair, who just turned 1, has done this before. Her mother, Kristin, laughs and lifts her daughter into her arms. The Hagmann’s ranch-style house is ideal for little ones just learning to walk.

“We are lucky. We only needed one baby gate,” Kristin explains.

A house wasn’t really on the agenda after the former Kristin Stensland married Nick Hagmann, but a four-bedroom and three-bath residence in Elkhorn caught their attention.

“I fell in love when we walked through it,” Nick recalls.

The Hagmanns saw potential in the brick and light tan house, built in 2006. Yet Kristin felt the dark-green walls upstairs and the baby-blue basement just did not feel like home. The drab decorations didn’t embrace a comfortable and cozy feeling.

Five months later, enter interior designer Lindsey Anderson.

The family is not into impulse shopping.

“My husband is a perfectionist. We do things right the first time,” Kristin explains.

Nick knows he is in trouble when his wife finds an item because she waits until it is just the right fit. The couple saves money this way, but it also makes them appreciate each scrutinized purchase.

Anderson was a compatible match as well.

Nick originally opted for a travel theme, but his wife had other ideas. She wanted unique and individualized items. Anderson helped the couple find eye-catching lamps, end tables, and furniture.

Storage space is ample and necessary, especially with a child exploring every nook and cranny. A smooth wooden trunk at the

base of the sofa is filled with fluffy blankets and baby books. A flat screen television sits on a black hutch, which hides electronics, more books, and remotes. A gas fireplace warms the space on chilly days. It is ideal for these two homebodies who like to relax after a long work week and watch Friday night movies with pizza or snuggle while watching The Real Housewives on Bravo.

“We make use of the space,” Kristin says.

Empty space in the glass-paneled cabinets in the kitchen were replaced with bright white decorative glassware. A snowy runner brings out the dark wood of the dining room table, along with a cotton bouquet and candles.

The kitchen island countertop is a mixture of blacks, golds, and grays. Blair’s high chair is hooked on. She isn’t a fan…yet.

Kristin added weaved storage baskets with a pillow proclaiming “Home” in the front entryway. The walls in the living room, kitchen, and basement were painted a light beige. Each room is understated and utilized. >

September/October 2017 • omahamagazine.com

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AT HOME

AT HOME < Kristin, 37, and Nick, 39, planned ahead for a possible family addition. The guest bedroom walls were coated a neutral light blue. Once Blair came into the picture, it was transformed into a nursery. Two small, lime green chairs are hand-painted with pink roses. A wide mirror provides needed depth. The chairs and mirror were created

by Robin’s Nest in Springfield. Kristin’s great-great-grandmother’s rocker was reupholstered in Sioux City with a navy and white checkered cushion.

Originally, the big basement was meant to be a man-cave for Nick. The couple decided on a pool table and a floating bar, but it was never ordered. The couple is currently thinking of the space as a play area for Blair, with possibilities of a toy chest and cabinets in the room. >

September/October 2017 • omahamagazine.com

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AT HOME < “She will probably want to move down here as a teenager,” Kristin jokes.

Right now, it is the “mother-in-law suite.” The grandparents can relax in the guest bedroom.

The bed is an antique from a relative, as is the distressed dresser. The bathroom and kitchen gives guests moments of privacy.

The basement still has hints of a man-cave, with a bar area​that​includes modern wooden stools.

Nick saw the same stools at Blatt Beer and Table and searched the internet to find them.

They can also drink beers with friends while watching Husker football on the 75-inch television. The soft tan, L-shaped sofa sinks in luxurious comfort. A yellow throw and purple checkered pillows add just the right pop of color.

The three, though, still spend most of their time upstairs—cooking, hanging out, or grilling outside. The deck overlooks a small wooded area and a creek. A fence might be the next addition since Blair is getting older. Adding improvements a little at a time to the house helps the pocketbook and makes every choice meaningful.

“It just feels complete,” Nick says. “Like it’s our home.”

OmahaHome

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OmahaHome • September/October 2017

ARCHITECTURE story by Alex Priest design by Mady Besch

photography bill sitzmann & provided

Architecture

Daniel Naegele, associate professor of architecture at Iowa State University and co-author of the soon-to-be-published Astle & Omaha, says his buildings are “highlights of architecture.” Bruce Wrightsman, assistant professor of architecture at Kansas State University and the other co-author adds, “Astle had a profound effect upon architecture in the state of Nebraska.”

B en e (Sch dictine uyl e M r, N ission ebr a H ska) ouse

Tollefson House (Wausa, Nebraska)

t is not often that an Omaha architect is featured in the New York Times and Architectural Digest, but the reputation of Neil Astle is noteworthy for much more than mere publication clippings. His local homes and buildings remain architectural treasures in the Omaha metro.

HIS LOC A L HOMES A ND BUILDINGS REM A IN A RCHITEC TUR A L TRE A SURES IN THE OM A H A METRO.

In 2008, A stle was posthumously awarded the Harry F. Cunningham Gold Medal for Architectural Excellence in the State of Nebraska—the highest honor that the regional chapter of the American Institute of Architects can bestow in recognition of distinguished architectural achievement. This path to praise was laid in a dedication to material detailing and modernist ideologies.

Astle was born in Salt Lake City in 1933 and earned a degree in architecture from the University of Utah in 1958. The next year, he earned a Master of Architecture and Planning from Massachusetts Institute of Technology. The department was then chaired by Pietro Belluschi, designer of many high-profile buildings, including the Pan Am (now MetLife) Building in New York City. At MIT, Naegele says, “Astle would have been seduced by Eero Saarinen’s extremely popular Kresge Auditorium and Chapel and by Alvar Aalto’s Baker House auditorium.” The concrete-and-glass structure auditorium and brick dormitory with a large S-curve would later be reference points to many of his projects in Nebraska.

In 1964, Astle moved to Ralston; in 1965, he founded Neil Astle and Associates and began teaching architecture and community design at the University of Nebraska–Lincoln.

From 1968 –1981 his Omaha-based firm received six AIA Nebraska Design Awards, five Central State Awards and two Architectural Record Awards of Excellence. In 1983, he became a fellow in the AIA. Then in 1999, Astle received the Lifetime Achievement Award from the Utah Society of Institute of Architects— the first and still only Utah recipient of this award. Astle died in 2000, receiving the Cunningham Gold Medal from AIA Nebraska posthumously eight years later.

Why such lingering admiration for this Omaha-based architect?

A stle’s architectura l st yle, now k nown as midcentur y modern, confronts the expa nsive nature of suburbia with a c ou nter solut ion: intense materia l and spatia l investigations, a long with honed detailing. A s Naegele says, “The transition from man-made suburbia to Neil-made suburbia is one of A stle’s great accomplishments.”

“ THE TR A NSITION FROM M A N - M A DE SUB UR B I A TO N E ILM A DE SUB UR B I A IS ON E OF A S TLE’S GR E AT ACCOM PLISH M E NTS.” — DA NIEL N A EGELE

Searching for authenticity in materials, Astle’s architecture was primarily fabricated in cedar and concrete—aging with the landscape of the site—finding continuity of interior and exterior space.

Through their specific placement, these structures cascade on their sites. Like other architecture of the period, searching for simplicity was not simple.

With a focus on micro details (for example: hinging on cabinets and closet cladding) and using natural light and architectural space, many of his projects (including several Omaha-area homes and the DeSoto Wildlife Center in Missouri Valley, Iowa) strike an uncompromising balance of form, function, and the environment.

The (Mi DeSot ss o u o W r i V il d l alle ife C y, I o wa e n t e r ) Fla n

In 1980, Architectural Digest described A stle’s award-winning work as “an architectural gem” and “unmistakably modern.” This respect continues to be felt by many of his contemporaries. Ross Miller, architectural designer at HDR, speaks to Astle’s legacy by simply stating, “he is a true architect.” OmahaHome

sbu r

gH ou s

e

Visit aiane.org for more information about the regional chapter of the American Institute of Architects.

September/October 2017 • omahamagazine.com

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ARCHITECTURE story by Alex Priest / photography by Bill Sitzmann / design by mADY BESCH

Ball House

Flansburg House

September/October 2017 â&#x20AC;˘ omahamagazine.com

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Flansburg House

CANNING ANY ARCHITECTURAL

ARCHITECTURE

[ASTLE’S] HOUSES ARE ALL WOOD AND BECAUSE OF THIS, THEY SEEM TO EXUDE AUTHENTICITY.” — DAN NAEGELE / H156 /

periodical or blog, there are endless examples of buildings with clean lines, simple spaces, and minimal material pallets. Contemporary architecture owes much of this ethos to the modernist architects of the mid-20th century.

Architect Ludwig Mies van der Rohe encapsulated the design philosophy with his famous quote: “less is more.” While turn-of-the-millennium McMansions of suburban Omaha represent the antithesis to the minimalism of midcentury modernism, the Omaha metro is home to several notable modernist residences designed by architect Neil Astle.

Two local homes designed by Astle came available on the market over the summer: the Flansburg Residence (located at 2205 S. 111th Circle) and the Ball Residence (located at 2525 S. 95th Circle).

Astle lived in Omaha between 1965 and 1981.

During that time, he completed many awardwinning architectural commissions, only a handful of which were homes. For his residential work, Astle said, “It is all part of refining a design in a complete way so that clients have few decisions to make—even about furnishings.”

Dan Naegele, associate professor of architecture at Iowa State University, says, “They are more than houses. They are dwellings and are to be valued, cared for, basked in, and appreciated.”

OmahaHome • September/October 2017

Theoretically, Astle was challenging something greater with his suburban homes.

Naegele explains that the architect “removed the garage from the house, allowing its presence as a separate entity to create a complex.

The remote, innocuous, naturally clad garage, though convenient to the house, was not part of the house itself. It allowed for the house to be low, and to be stretched across the site, rather than piled up in one place.”

The Flansburg Residence, located in the Rockbrook neighborhood, is a 2,500-squarefoot home completed in 1969. Nancy Flansburg Novak, senior designer and partner at Alley Poyner Macchietto, grew up in the home and recalls her parents commissioning Astle to build the structure. She says, “my newlywed parents [Steve and Mildred Flansburg] were looking at homes, drove past Neil’s house, and stopped to ask who the architect was.

He said it was him.” After a short exchange, the Flansburgs became Astle’s first residential clients. They also became lifelong friends.

At the end of cul-de-sac, the split-level home sits surrounded by foliage. A carefully crafted foyer between the garage and home creates the first of many spectacular spaces. The patina of vertically clad western red cedar, a favorite material of Astle, fully wraps both units.

According to Naegele, “[Astle’s] houses are all wood and because of this, they seem to exude authenticity.” This darker space sits in contrast to the light-filled living spaces.

THE 3,900-SQUAREFOOT HOME FEATURES A DETACHED GARAGE, WHICH CONTRIBUTES TO THE DRAMATIC VIEW OF A COURTYARD WHERE CEDAR AND BRICK WRAP THE EXTERIOR AND INTERIOR PLANES.

Entering the front door, creamy wool carpet and gray slate blanket the first level, which contains the living room and kitchen. An angular ceiling, clad in horizontal knot-free cedar, fills the entertaining areas with natural light. While the space is incredibly simple, phenomenal woodworking details by Bill Hayes are still in place. Subtle surprises are omnipresent.

Astle once said, “I try to get into families’ needs and express them thoroughly.” Going up or down a half or full level in the Flansburg Residence, Astle’s design philosophy becomes clear. Flansburg Novak recalls the home being “her jungle gym,” with plenty of nooks and crannies for her and her siblings. “It always felt big and open,” she says.

Less than two miles away on the edge of Towl Park, the Ball Residence extends many of Astle’s architectural tropes. Built in 1975 with the same cedar, owner Tami Doll (co-owner and vice president at Doll Distributing LLC) calls the home “a work of art.”

The 3,900-square-foot home features a detached garage, which contributes to the dramatic view of a courtyard where cedar and brick wrap the exterior and interior planes. >

Backyard court, Ball House living room

While Astle had free reign on the home’s design, the tight budget necessitated creative design solutions that come off as effortless. The efficient f loor plan unfolds with neatly tucked away bedrooms, storage areas, exterior patios, and library. On the lower level, the ceilings were raised to allow the home’s patriarch to practice table tennis—many of his trophies remain in the library. The Flansburg’s home went on to win several awards, including a 1969 Residential Design Merit Award with the Nebraska chapter of the American Institute of Architects.

Upon entry, light fills the space, pulling full-scale picturesque views inside—suggesting continuity between human, architecture, and nature. Three bedrooms and entertaining spaces are neatly organized in an open f loor plan and the same cedar covers much of the interior.

ARCHITECTURE

< “When I walk in, there is a peacefulness about the home,” Doll says.

The original homeowners, Dale and Sylvia Ball, were quoted as saying, “The single most important decision in the whole process was selecting Neil as the architect.” Their instincts rang true when the home won the Honor Award for Distinguished Accomplishment in Architecture in 1975, as well as being written about in many national and international publications.

Recently featured in The New York Times (June 14) and academic literature, it is obvious that Astle’s work is significant, but as Doll notes, “I don’t think people realize homes like this are in Omaha.”

Astle’s works are “rare gifts to Nebraska,” Naegele says. These two residences—the Flansburg and Ball residences—offer a chance to ref lect and remember how good his work was (and continues to be).

OmahaHome

“THE SINGLE MOST IMPORTANT DECISION IN THE WHOLE PROCESS WAS SELECTING NEIL AS THE ARCHITECT.” — THE BALLS

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September/October 2017 • omahamagazine.com

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Now That's

a Spicy

Pickle

HARVEST story by Patrick McGee photography by Bill Sitzmann design by MADY BESCH

a

VID GARDENERS IN the Midwest are familiar with this pickle of a problem.

Kitchen countertops are cluttered with cucumbers; family and neighbors have had their fill of cucumber salad; and the refrigerator cannot possibly hold any more garden-fresh produce. It’s a good problem to have, but a fleeting one. It’s time to pickle your leftover cucumbers.

Pickling your crop of cucumbers will preserve them. Anyone can go to the grocery store and buy a jar of dill pickles, so make yours different. Make them spicy.

The key is to add spice to the brine, which consists of water, vinegar, salt, and seasonings. For example, garlic, peppercorns, and dill can all spice up an otherwise plain salt water.

Patrick McGee

So can hot peppers. This is the perfect opportunity to use those Carolina reapers your friends and family don’t want to eat. Ghost peppers, scorpion peppers, habaneros, or even plain old jalapeños are solid options. The infusion of the peppers into the pickle brine can make them hotter than hell, depending on how much you use.

Don’t forget to wash your hands before touching your eyes—or worse. Your tongue isn’t the only body part that can feel the spicy heat. Some people wear gloves. Use soap and lots of water to wash hot peppers from your hands. Be warned. Even a thorough washing with suds and water may not wash away all the heat.

The cucumbers are best pickled when young. Slicing off the flower end prevents cucumbers from becoming rubbery. Overdeveloped cucumbers are often woody, wide, and turning golden yellow.

They do not make ideal pickles. The seeds are hard and pithy. Ideal cucumbers are crisp, break with a snap, and do not have prevalent seeds.

A few quart-sized mason jars with canning lids are ideal for storing your pickles and are visually pleasing. They also make handy drinking glasses when your pickles are no more.

When your pickles are made, you can leave them in the refrigerator or can them. I prefer to can them so I can pull out a spicy batch on some unsuspecting guests who claim they can eat fire. Make sure there is plenty to drink because it will be needed. >

September/October 2017 • omahamagazine.com

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HARVEST

HARVEST

Recipe

Scan this page wi the LayAR app to see a morel recipe

< Scale up according to batch size. Four cups of vinegar is usually suitable for 12 pint jars containing 3-4 cucumbers sliced length-wise with ends trimmed to fit the jar. Smaller cucumbers can be canned whole.

Ingredients ½ to 1 cup vinegar (depending on overall acidity) 1 cup water 1 clove of garlic, crushed 1 tablespoon peppercorns Salt to taste (usually about 1 tablespoon) Grape or oak leaves (optional, for crispness) Cucumbers Canning jars and lids Sliced hot peppers

Steps Boil the water, vinegar, and salt to make a brine.

The acidity is especially important when processing with a water-bath canner (which makes storage outside of the refrigerator possible).

Steep peppercorns in brine.

Sterilize canning jars and lids by submerging them in boiling water.

Pack canning jars with a few leaves (if using), then carefully place cucumbers, garlic, and hot peppers into jars in a visually appealing way.

Pour in hot brine.

Finish processing by either canning or allowing to cool and storing in the refrigerator.

The pickles are ready to eat within a few days, but they do improve with time.

OmahaHome

ith o e.

a few quart-sized mason jars with canning lids are ideal for storing your pickles and are visually pleasing. they also make handy drinking glasses when your pickles are no more.

September/October 2017 â&#x20AC;˘ omahamagazine.com

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OmahaHome • September/October 2017

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Transformations story by

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MEET THE DESIGNER

Anita Wiechman

Anita, who has been a designer for 38 years, specializes in remodeling kitchens and baths as well as whole house projects. Her project management skills, reliable assembly of subcontractors, and efficient use of CAD keep her projects professional and well-organized. Beyond construction, Anita completes her projects with furnishings and accessories appropriate for each home.

RADIANT REPLACEMENTS OPENING A MULTI-FUNCTIONAL SPACE / H170 /

OmahaHome â&#x20AC;¢ September/October 2017

T

HE GOAL OF this remodeling project was

to transform a dark and narrow basement with separate rooms into an open and bright space with multiple functions. The improved lower level is now inviting and provides a theater area, bar, conversation/sleeping area, and a sound-proof space for the clients' teenage sonâ&#x20AC;&#x2122;s drumming practice.

Exterior alterations by Stan Construction included changing the small sliding door to a larger door and adding a sidelight for increased natural light. Elite Landscaping created the stone wall, steps, and gate for an easy, private approach for guests. >

Transformations

< Inside, the previous solid stair wall was changed and improved with an open railing to allow for additional light and better connection to the main level. Two existing bedrooms were reconfigured to become the theater area and drum room.

The theater space was kept open, allowing the homeowners to use a large projection screen for crowds while visually widening the space. Ambience and comfort in the theater space was achieved through the leather reclining theater seats and surround sound, along with picture and baseboard pin dot lighting. The lights, sound system, and blackout shades are all controlled though use of mobile phones or iPads. A communications system with the front door allows the family to easily answer the door to guests while enjoying the basement.

Insulation made of sound board with acoustical covering provides essential sound-proofing in the basement’s drum room. Quality sound levels in the space allow an optimum recording environment for the aspiring musician.

In the bathroom, a small acrylic shower was replaced—the shower now takes the whole width of the bathroom. Frameless glass doors visually enlarge the space, displaying the limestone-look tile with pebble accents. The open vanity adds to the visually spacious feel.

The bar area contains the game and shuff leboard tables. The bar is set off with an arched soffit and accented with a large granite top and ledger stone side wall displaying f loating wine bottles. The amenities include a large granite sink, a pop-up outlet to allow for serving hot dishes, a dishwasher, and an ice maker.

The back bar includes a Wolf microwave, double sets of sub-zero refrigerator drawers and a sub-zero glass-front wine refrigerator. Cabinet storage and f loating shelves with backlit LED lighting adorn a plate glass mirror.

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Finishes ref lect the feeling of Montana, the family’s second home. The wood-look tile is durable and easy to care for at the patio entrance, around the bar, and in the bath. > OmahaHome • September/October 2017

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Warm granite colors were used as well as a dark stain on the cabinets. Furnishings were selected for their timeless appeal.

The larger pieces are mostly in neutrals, with pops of turquoise and orange in the accessories and artwork. Furniture selected for the conversation area can be transformed into sleepers since the sectioned-off bedrooms were eliminated.

The sofa becomes a queen-sized bed, and the oversized chair turns into a twinsized bed.

Transformations < Warm granite colors were used as well as a dark stain on the cabinets. Furnishings were selected for their timeless appeal.

The larger pieces are mostly in neutrals, with pops of turquoise and orange in the accessories and artwork. Furniture selected for the conversation area can be transformed into sleepers since the sectioned-off bedrooms were eliminated.

The sofa becomes a queen-sized bed, and the oversized chair turns into a twin-sized bed.

The lower level is used by the whole family. The teenage son loves to entertain here while the parents enjoy having their friends over for a glass of wine, a movie, or a friendly game of shuff leboard. The coupleâ&#x20AC;&#x2122;s adult sons and their families, who live out of state, feel comfortable inviting old friends over for fun-filled parties. Itâ&#x20AC;&#x2122;s inviting, functional, and captures the needs of every age group that uses the space. OmahaHome Visit idgomaha.com/designers to learn more about Anita Wiechmanâ&#x20AC;&#x2122;s work.

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OmahaHome â&#x20AC;˘ September/October 2017

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